Storyboards

Characters

Joshua:

Age-17

Ethnicity- White British

Relationship- Sleeping with Ciara.

Costume- Black Harrington on a grey zip up with blue jeans and white Reebok Hightops.

Actor- Walter Righton

Ciara:

Age-16

Ethnicity- White Irish

Relationship- Sleeping with Joshua. Seamus’ younger sister.

Costume-

Actor-

Seamus:

Age-18

Ethnicity- White Irish

Relationship- Best friends with Scott & Adrain. Ciara’s older brother.

Costume-  Red shirt on a Black pullover hoodie and trackies with Reebok Sir Jams

Actor- Jordan Goff

Scott:

Age-18

Ethnicity- White British

Relationship- Best friends with Seamus & Joey

Costume- Black crewneck and blue cotton trackies with a brown beanie and Vans

Actor- Aaron Morey

Adrian:

Age-18

Ethnicity-White British

Relationship- Best friends with Seamus & Scott.

Costume- Grey crew neck and black trackies with a black beanie

Actor- Joey Helsby

12 Hours Storyline

12 Hours Storyline

Introduction – Joshua leaves his house. However, he is being followed by Snake and Smithy he enters an alleyway where he is confronted by Seamus Keane. He try to run but is stopped by snake and smithy, he then proceeds to be knocked out. Cut to Black.
Time now goes back to 12 hours earlier (12pm) were we find Joshua and Sybil Keane in bed. Joshua goes to have a shower walks down stairs makes breakfast. Sees a note from his Mum saying she has gone away.
Joshua goes to the football match with a few of his mates and invites people to his house for later. We are also introduced to Joshua’s love interest called, Sandra.
Joshua’s friends come over and as does Sandra and a few of her mates including Sybil .
Sandra walks in on Sybil and Joshua getting off. Sandra runs off and Sybil follows since they are best friends. Sybil goes home and speaks to her brother, Seamus.
Everyone is getting on well and they get very drunk however they run out of beers and Joshua goes to get some from the local shop and keeps trying to get in touch with Sybil, its roughly 11:55 at this point.
Once he leaves the house Joshua is found by a fuming Seamus who wishes to beat up Joshua. Its 12.... and 12 hours since noon. Were back at the beginning.

Relating films opening to our own idea

Setting: The setting of this opening is at a school, where we see lots going on. This represents to the viewer that the film is going to be about school children and very lively. The setting is in a wide open space which denotes thats the characters are quite open about themselves. I think that the director has chosen to do this to show the viewer the nature and the personality of the character involved. However using this setting we dont get a sense of what kind of character they are. Since the setting is at a school, the viewer quickly sees that they are school kids.

Camera shots: Lots of mid shots used to get a perspective of what friendship groups are apparent, the director has chosen to do this to show the viewer which characters you expect to be friends because that is very important in youth films. We see the first close up of a boy using a drill on a gun (trevor) this is the first close up because he is the main character in the film. In our film opening, we do something similiar however we don't introduce any character before the main character. He is given the first close up though.

Camera movement: The camera moves lots in between mid shots in the opening sequence of kidulthood, the director might of chosen to do this so that it represent the busy lives of youths and how fast they live their lives. The camera is pan between groups extremely quickly and is never stationary. Firstly it moves to look at the two girls in the scene and quickly onto another couple of girls, this contrast between the two. The camera continues to pan between a series groups then cuts to someone doing some work on a gun in a classroom. All of the movement and the cuts denote to the viewer that the people involved are typical teenagers and gets the point of the film over to viewer easily. The camera is always panning between groups and then zooming into the group. This gives a the viewer the a better idea of who the main characters are because since it is set in a school there a lots of people involved therefore its a good way to get across who the main character are. By zooming into them it establishes who is who. In our task the camera doesn't move atall.

Relating films opening to our own idea

Between 1.56 and 2.50

Setting: The narrative is explained by the setting because its in a tunnel where a man is getting beaten up. He has blood all over his face. This setting explains that the story is going to be about fighting and hooligans. Since the man is on the floor this puts none of the focus on the setting, all we can see is that is it dark and all the light is on the person on the floor. We get the feeling this is set in some kind of tunnel because we see some light but not much. I think that the director has chosen to use this type of setting to represent th nature of the man and the nature of what he is involved in. It could also be used to represent that this man has no chance of getting out of what he is gotten into by the light and the tunnel.

Lighting: The light is very dark and dull because it represents how doomed this person is who is getting beaten up . The lighting is all on his face and the blood stands out this establishing that the narrative is going to be very violent. In the next scene we seen the man standing out by the use of lighting, he isnt wearing the most colourful clothes but the blurriness of background presents the foreground very well and denotes that the story is going to be about this man. The lighting is used to make the audience aware of what is going on and takes them into a world of football violence and its denoted by the darkness.

Choice of shot: Extreme close up, this use of shot focuses purely on this man and gets the image of him into the mind of viewer. Next, the camera zooms into the mans face, this establishes that the story line is going to be about this man and puts the viewer into his head. The camera dissolves to the next shot in a complete comparative view to the last he is walking down the street looking very happy and everything else is blurred out so that represents to the viewer that the story is going to be about him. This is a very easy technique to use to get the viewer to know who the main character is. In our production we have just used close ups to mark down who the main character is.

The choice of clothing that the man on the floor wears again represents the type of genre of the film. he is wearing a big coat in both scenes the denotes the character of football hooligans and shows the viewer what kind of a person he is. After the black-out  the contrast between the three people in the scene captures three completely different characters. This suggests to the viewer that hooligans are completely different from everyone else.


This type of film opening is relevant to our because of many reasons, one the storyline is very similar ours starts of as a man getting beaten up and then is explained later. Also in this film its very similar if not the same, the man gets beaten up and then the narrator (himself) sets the scene for why he gets beaten up. This can relate to our film very easily. Another reason why it relates to our opening is because its shares very similar genre's: Violence, action and crime.

Within this sequence we don't see any narrative arch's appearing because we have only met one character. However we know that this man is going to to involved heavily in football violence. The voice over explain this clearly and explains that it is what he wants to do. This leaves the narrative arch's open to be developed within the rest of the film. Compared to our opening, we don't see clearly that there are arch's present however we get the sense of one from when the man is confronted by three other people. The character arch is clearly represented.

Relating films opening to our own idea

Protagonist

"one who plays the first part, chief actor"
Protagonist is the main character, it who the plot revolves around. The terms protagonist, main character and hero are variously defined and, depending on the source, may denote different concepts. In fiction, the story of the protagonist may be told from the perspective of a different character. An example would be a narrator who relates the fate of several protagonists, perhaps as prominent figures recalled in a biographical perspective. Often, the protagonist in a narrative is also the same person as the focal character, though the two terms are distinct. Excitement and intrigue alone is what the audience feels toward a focal character, while a sense of empathy about the character's objectives and emotions is what the audience feels toward the protagonist. Although the protagonist is often referred to as the "good guy", it is entirely possible for a story's protagonist to be the clear villain, or antihero, of the piece. 
Their aim: After all, the eventual aim of the protagonist is to find a means to die, an aim that requires some fairly serious motivation. It is usually an active aim which is fulfilled with time.


Antagonist force: The antagonist is the character of a story who represents the opposition against which the heroes and/or protagonists must contend. In the classic style of story wherein the action consists of a hero fighting a villain, the two can be regarded as protagonist and antagonist, respectively. However, authors have often created more complex situations. In some instances, the story is told from the villain's point of view; in such a story, we must regard the hero as the chief antagonist of the story!

Script

Police arrive at the family home to inform Idi that Raza has been arrested at work - charged with the murder of a local man, Frank Cordingley (a colleague of Raza's, from the University - he is a security guard, and ex-soldier - having served in Iraq and Afghanistan).  Cordingley is found dead in his flat, following the extraction of a large amount of money from his bank account.  A neighbour has identified Raza as visiting the house earlier in the day.  Questioning takes place.

Criminal Justice

This first scene starts off being very dark as the camera is zoomed in onto a black door. Next, a semi diegectic sound of a police man banging on a door.

POV shot of the police man

Police man: It’s the police, open up!

Cut to: Over the shoulder shot of the police man

Slight pause, Idi comes storming down the stairs and walking into shot as the camera is still focused on the door. Idi’s side of the door is red. He swings the door open sharply.0

Cut to: Close up of Idi

Idi: It’s 4 in the morning what do you want!?

Cut to: Over the shoulder shot of Idi

Police man: Your son has been arrested and charged with murder of a local man.

Cut to: Over the shoulder shot of Police man

Idi: You must have got the wrong guy; my Raza wouldn’t do such a thing. He’s upstairs sleeping.

Cut to: Over the shoulder shot of Idi

Police man:  We would appreciate it if you would come down to the station with us.

Match cut: Idi is now standing at the police station looking up at it, Idi takes a seat in the waiting room.

Semi diegectic sound of police sirens

In the police interview room it is dark and all the light (minimal) is on Raza.  Raza is still wearing his security uniform. In the background is one police officer and in the main part of the scene is Raza and the interviewer.

Dissolve cut to: Extreme close up of Raza

The tape is on, raza’s interview has began.

Raza: I didn’t do it!

The police man is pacing around the room making Raza look small.

Cut to: Medium shot of everything in the room with the interviewer circling Raza

Interviewer:  So Mr Cordingley was a friend eh? What could possible drive a man who has no criminal record, helps out at the local mosque to commit such a murder?

Raza ignores the question. Then shakes his head.

Cut to: Close up of Raza

He lies back in his chair and put his hands on his face.  The interviewer ruffles through his files.

Cut to: Over the shoulder shot of the interviewer.

Interviewer: Mr. Cordingley, a ex servant in Iraq and Afghanistan with two sons and three grandchildren. Had a big pay off from a football bet, won a reported £100,000. He recently settled down in a new home with a new job after the tragic death of his wife.  

Pause

Interviewer: I think that you were jealous of Mr. Cordingley and couldn’t stand that he had such a better life than you. Especially after winning £100,000 when is it going to be a better time to kill the man that you hate and take all the money?

Cut to: Over the shoulder shot of Raza

Raza is looking down at the floor, he is seemingly very anxious and doesn’t know what to say.  He folds his arms

Cut to: Over the shoulder shot of Raza

Interviewer: where were you between the hours of 9.00pm and 11.00pm?

Cut to: close up of raza’s hand tapping on the table

Raza’s hand stops tapping

Cut to: over the shoulder shot of Raza

Raza: I was at home watching television. You have nothing on me, let me go or charge me.

Cut to: Close up of the interviewer

The interviewer looks disappointingly towards Raza and raises a eyebrow.

Interviewer: We have a witness statement saying that they saw you at approx. 9.30pm walking into the home of Mr. Cordingley. So where were you between the hours of 9.00pm and 11.00pm?

Cut to: two shot of both opposing each other over the table

Raza seems to open up, he leans forwards and places his arms on the table fiercely  

Raza: Alright, I went to see Mr. Cordingley about um work when I left he was fine just as he usually is.

Interviewer: You’ve just stated that you were at home watching television?

Raza:  Yeh I was watching television at his place, nice 42” plasma screen. I suppose he got it with all his winnings.

Interviewer: Interesting.

Raza: So, you gotta let me go you haven’t got anything on me. I want to get out of here I haven’t done anything wrong.

Interviewer: Interview terminated at 7.59 AM.

Cut to: close up of Raza

Raza sharply stands up and throws his chair back.

Raza: WHAT, you can do this.

Interviewer: Sit down sir, we have enough evidence to charge you just we have to be sure, ill be back to interview in due course

Exit the interviewer

Raza’s shoulders slump down he slows is reduced to nothing within his chair.

Match cut to: Idi waiting in the reception for news.

Idi walks up to the receptionist confidently and slams his hands down on the desk.

Idi: Are you going to charge my boy or not? This is outrageous!

Receptionist: Calm down sir, I’ll give you the news as soon as I get it. Now can you just take a seat?

Close up of Idi’s hand sliding off the desk.

Dissolve cut to: Raza, camera looking up at him

Raza is deep in thought, he looks towards the ceiling.

Raza: ten thousand pounds.

*pause*

Raza: ten thousand pounds for you, if you tell the man in the reception dressed in a suit the name of the witness. Ten thousand pounds...

Two shot of Raza and the silent police man. Raza is in the foreground and the silent police man in the background. The camera fades into focus on the silent police man.

Silent police man: What?

Raza turns and looks towards the man

Raza: Tell my dad and the rest will follow.

The Silent police man stretches out his neck and a smirk surfaces on his face.

Cut to: Raza camera looking up at him

Raza follows to turn back around

Dissolve cut to: Idi walking up to the door of the witness.

Doorbell rings. Semi diegectic sound of the large man coming down the stairs.

The door opens slowly and a large man appears dressed in black clothes. Idi is dressed in a creamy/brown coloured jacked with suited trousers and leather gloves

Witness: Yes?

Idi pulls out his silenced gun within his lathered gloved hands and places it close to the Witness’s stomach and shoots him twice. Idi pushes the man within the door with his foot closes the door and brushes himself down.

Fade cut to: two shot of Raza and the Interviewer back in the interview room

Raza is looking very confident and smug about the whole situation and is lean well forward with his hands on the table.

Cut to: Close up of the interviewer’s finger pressing play on the tape player.

Cut to over the shoulder shot of raza

Interviewer: Well, you wouldn’t be too surprised to hear but the witness has suspiciously gone missing.

Cut to over the shoulder shot of The interviewer

Raza: really? That's bad news, guess you will just have to carry on the case without him. So what is next?

The interviewer looks angrily towards Raza, shakes his head.

Cut to: Close up of Raza

Interviewer: Raza I’m charging you with the murder of Mr. Cordingley

Typography

Typography is the art and technique of arranging type, type design. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length, leading adjusting the spaces between groups of letters and adjusting the space between pairs of letters.

The art of title design

People remember film from good opening title sequences. 

Titles in silent films: 

Words and letters were the biggest part of this type of film, they had to provide essential information for the viewer because of such things as ease of production. This was usually provided by white letters on black backgrounds. In addition to hiring lettering artists, the biggest film studios began to employ typesetters in the production of title cards 

Titles with music:

Movies got more popular and producer started to invest more money into sounds with the titles. For example the dog they liked to convey the tone of a movie through the dressage of its main title. For example black and red letters conveyed horror. Hollywood animation studios, including Warner Brothers and MGM, did give some license to their artists to indulge in title antics. Disney took it upon themselves to put the characters into the title sequence

The birth of title sequences: 

In 1950 Saul Bass, Pablo Ferro, Maurice Binder and Richard Williams At that time, independent filmmakers made commercial headway by doing things differently, spreading utterly fresh ideas about the possibilities of title sequences. This is the era in which the discipline of film title sequence design was actually born. Experimentation on the fringes, where title sequences really thrive, have led to all kinds of innovation.

The Modern era of film titling

Every film title has been effected in some way by computers this is excellent for designers. Creating film titles means participating in the apprenticeship tradition continued The revolutionary title sequence for “Se7en” (1995) by Kyle Cooper was named by New York Times Magazine as “one of the most important design innovations of the 1990s”: The potential of digital graphics and typography has attracted some of the most creative minds to motion design. Pixar and Disney have reserved crucial parts in the branding of their films for the title sequences, using animated character to represent the film